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=== Critica ===
"Director John Ford and the writers have somewhat overplayed their hands. They have taken a disarmingly simple and affecting premise, developed it with craft and skill to a natural point of conclusion, and then have proceeded to run it into the ground, destroying the simplicity and intimacy for which they have striven. ... Stewart and Wayne do what comes naturally in an engagingly effortless manner. Vera Miles is consistently effective. Marvin is evil as they come. There is a portrayal of great strength and dignity by Woody Strode. But the most memorable characterization in the film is that of Edmond O'Brien as a tippling newspaper editor deeply proud of his profession." - Variety, April 1962.(tcm.turner.com/tcmdb/title/82756/The-Man-Who-Shot-Liberty-Valance/articles.html)
"Wayne--taciturn, good-natured, tough, and supremely confident--is the John Wayne." - DuPre Jones, Sight and Sound, 1962.(tcm.turner.com/tcmdb/title/82756/The-Man-Who-Shot-Liberty-Valance/articles.html)
"Liberty Valance is Ford if not perhaps at his greatest then at least at his middle best." - Hazel Flynn, Hollywood Citizen-News, 1962.(tcm.turner.com/tcmdb/title/82756/The-Man-Who-Shot-Liberty-Valance/articles.html)
In his April 1962 New York Times review, Bosley Crowther called the film "creaky" and declared it proof that "the western, ravaged by repetition and television, has begun to show signs of age...[a] basically honest, rugged and mature saga has been sapped of a great deal of effect by an obvious, overlong and garrulous anticlimax."(tcm.turner.com/tcmdb/title/82756/The-Man-Who-Shot-Liberty-Valance/articles.html)
"The pasteboard town of Shinbone, where, in [critic] Manny Farber's words, 'the cactus was planted last night,'...avoids the conventional romanticizing of period detail to force all our attention on to the faces of the characters. There are probably more close-ups in Liberty Valance than in all of Ford's 1940s Westerns combined." - Joseph McBride, Michael Wilmington, John Ford (Martin Secker & Warburg, 1975).(tcm.turner.com/tcmdb/title/82756/The-Man-Who-Shot-Liberty-Valance/articles.html)
"The lighting of this picture is at times only serviceable, inexpressive even when the image is an important one: a shot of the cactus rose which Tom has bought for Hallie and which Pompey has planted for her looks like something shot in a hurry, in the last ten minutes of a long day; and the hold-up of the stage which introduces Liberty Valance has the cramped artificiality of a scene in a 'B' picture. And yet, whether by design or by accident, this lack of visual refinement has an artistic result which is not just negative. ... The film develops with the simplicity and concreteness of a ballad, the objectivity and the historic sense of an epic. And it is very much a story." - Lindsay Anderson, About John Ford (Plexus, 1981).(tcm.turner.com/tcmdb/title/82756/The-Man-Who-Shot-Liberty-Valance/articles.html)
"The Man Who Shot Liberty Valance is about as fine a thesis on the intermingling of Western fact and fiction as has ever been filmed. It is also yet another commentary on the merging of the old Wild West into the new one." - Tony Thomas, A Wonderful Life: The Films and Career of James Stewart (Citadel, 1988).(tcm.turner.com/tcmdb/title/82756/The-Man-Who-Shot-Liberty-Valance/articles.html)
"Ford's purest and most sustained expression of the familiar themes of the passing of the Old West, the conflict between the untamed wilderness and the cultivated garden, and the power of myth." - Nigel Floyd, Time Out Film Guide, 2000.(tcm.turner.com/tcmdb/title/82756/The-Man-Who-Shot-Liberty-Valance/articles.html)
== Riconoscimenti ==
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